Aliens In The Offing? (or Not)

"The offing" is either the deep part of the sea as visible from the shore, or something likely to happen or manifest itself soon... (ie, metaphorically on the horizon).

I'd like to share a few links to DiscoverMagazine.com/Aliens  It's the sort of blog I ought to have found years ago!  This article, about Tabby's Star is great inspiration, and is also fascinating for the comments. KIC 8462852 might be too far off to be "in the offing"! It has a mysterious flicker.
http://blogs.discovermagazine.com/outthere/2016/07/31/alien-megastructure-star/

This article is about how to dupe aliens into thinking that Earth has no oxygen, and other ways to not attract undesirable alien attention, 
http://blogs.discovermagazine.com/d-brief/2016/03/31/hostile-alien-protection-plan/

Please scroll down to enjoy the guest blog from Friday/Saturday.

All the best,
Rowena Cherry

The Shifting Landscape of Publishing

Here are links to two blog posts related to the challenges of flourishing as an author in today's publishing environment.

Horror writer Brian Keene on how maintaining a balance between traditional releases from mainstream publishers and newer methods and formats helps an author hang onto long-time readers:

Missing in Action

He discusses the advantages of digital publishing and online distribution but also recounts his experience of the downside of having no traditionally published books in physical bookstores. Many of his older readers didn't follow him online because they didn't realize he was still writing new material. The article reminds us that not everybody is cutting-edge computer-savvy or in the habit of seeking online first (or at all) for products they want, including books. Having books stocked in stores offers another advantage he barely touches on—the chance to sell to impulse purchasers who otherwise wouldn't know the author exists.

Kameron Hurley on when to quit your day job:

When to Quit Your Day Job

The surprise in this essay is that, unlike most people giving advice on this topic, Hurley doesn't focus on strategies for leaving the "day job" as soon as feasible. Instead, she recommends sticking with it as long as you can (provided it's not a soul-sucking ordeal) for the financial security of salary and benefits. How long can an individual live (much less support a family) on a $100,000 advance, which looks like a fortune at first glance? The portion left after taxes and the agent's percentage will last at most two or three years, depending on the cost of living in a particular city. And how many aspiring authors will ever receive a windfall of that magnitude? An advance that size WOULD be a functional fortune for me, because my husband and I are already living perfectly well on our combined retirement-income streams. That fact, however, supports Hurley's recommendations, because one of her points mentions quitting the day job if one has a reliable income such as the salary of a steadily employed spouse.

Selling a book for a huge advance is in that way a bit like winning a million dollars in the lottery. If a young winner thinks, "Wow, I'm a millionaire," and starts spending like one, he'll soon go broke. If he decides to quit his job and exist on his windfall with a modest lifestyle, he'll get at most twenty years or so of leisure before he has to find a job again. On the other hand, a million dollars really would make the winner rich if he or she were already at or near retirement.

My personal fantasy of writing as a get-rich scheme involves film options. Since the books are already written and published, that income would be free money, similar to winning a lottery (and, from what I've heard, not much more likely).

Margaret L. Carter

Carter's Crypt

Depiction Part 17 - Depicting First Contact - Take Me To Your Leader by Jacqueline Lichtenberg

 Depiction
Part 17

Depicting First Contact

Take Me To Your Leader 

by

Jacqueline Lichtenberg

Previous parts of the Depiction Series are listed here:

http://aliendjinnromances.blogspot.com/2015/04/index-to-depiction-series-by-jacqueline.html

This Tuesday blog is generally about Alien Romance Novels, about how to blend science, fiction, and romance into romance stories where love conquers all and brings a couple to a happily ever after "ending."  Science Fiction is largely defined as, "The Literature of Ideas."

So you wouldn't think politics was our beat.  Just look at current election coverage, political ads, and punditry of political analysis.  What could politics have to do with Leadership or Literature of Ideas?

However, this blog is about science fiction romance, and in science fiction one must build the entire world behind the characters around some one, single, unique, new, concept or premise.

There is an entire sub-genre of science fiction called sociological science fiction where the science being fictionalized is Sociology.

Such novels examine the fallacious assumptions humans make about "reality" -- such as which traits are inherently just human, and which traits human infants acquire from parents.

What is cultural, and what is genetic?  What precisely defines "human."  Are we just another species of Great Ape, or something else?

And if we're just another Great Ape right now, does that mean we will be nothing more than a Great Ape thousands of years from now?  Or thousands of years ago?

We are now accumulating data about exoplanets, and how common the conditions for life are in the galaxy.  What would Aliens on other planets have in common with Great Apes?

One common organizational theme among chimps and bonobos is that there is a single, dominant individual in each group.

http://www.cnn.com/2016/05/07/opinions/mothers-day-chimps-bonobos-safina/

With chimps, it is a dominant male, and with bonobos it is a dominant female who creates order in the grouping.

It can be argued that humans likewise pick an "alpha" male, a leader to follow, such as Donald Trump, or any of the 15 other men and 1 woman, Republicans, who ran for the office of President of the United States in 2015-2016.

And on the Democratic side, in US Politics, we have Hillary Clinton.  I see Bernie Sanders as an alpha male, and Hillary as an alpha-female.

To "depict" a human grouping, do you (the writer of romantic fiction ) have to designate a "Leader?"  Does the definition of human grouping include a Leader?

And if so, are we chimps or bonobos.  Do read that article.  It depicts chimps as war-like, belligerent, because they are dominated by a male, but bonobos as peaceful, easier to negotiate with, because they are dominated by a female.

If you look at humanity around this Earth, you see we seem to have some of each kind, but the problem is any particular human can be this kind on Monday and that kind on Tuesday.

The USA has never had a female president (yet), but other countries have been "led" by females.  Has that change in gender of leadership changed the behavior of those groups?

If you listen to the political rhetoric bandied about today, you will hear the word Leader (or related leadership, leading, etc) quite frequently.  The pundits analysis seems to be that everything that's "wrong" with the USA is due to a lack of "leadership."  That may be one of the fallacious assumptions we discussed in parts 3, 4, 6, and 7 of the Theme-Plot Integration series.

Here's the index to theme-plot integration:
http://aliendjinnromances.blogspot.com/2013/05/index-to-theme-plot-integration.html

And we built on those concepts later:
http://aliendjinnromances.blogspot.com/2015/12/theme-plot-character-worldbuilding.html

To create a theme and a plot for romance novels set among the stars, you need to build your Aliens (maybe not their World, but the Alien species itself) using the human template but with some, single, element different.

Only one difference (per alien species) is not an unbreakable rule, but it is the most reliable rule.

Since this is science fiction romance, you formulate the aliens using the kind of thinking trained into students of science. When designing an experiment, science teaches us to vary just one element at a time -- one feature -- one parameter at a time, and compare the results.

Note how Gene Roddenberry created Vulcans with the single "difference" of being non-emotional.  Yes, there's a long story behind that -- originally Number One (a female First Officer) was un-emotional and the Vulcan science officer was emotional but extra-smart.  To get the show on the air, Roddenberry had to eliminate the female bridge officer because no viewer would believe a man would take orders from a woman.  (how times have changed!)

So we ended up with the non-emotional Vulcans, and Roddenberry redesigned his aliens to suit the network executives so that their entire world culture, perhaps biology, was non-emotional.  Then to make the drama work, of course the non-emotional Vulcans turned out to have raging emotions.  But for Depicting First Contact, we learn to hide all differences except one.

Take C. J. Cherryh's Foreigner novel series, which I have been reviewing here for years.  Most recently #16 Tracker #17 Visitor :

http://aliendjinnromances.blogspot.com/2016/07/reviews-27-foreigner-series-by-c-j.html

Cherryh depicts her human "lost colony" as having all the varied traits humans have, included complex politics.  Her aliens on this planet, the Atevi, are at first depicted the way Roddenberry  presented the Vulcans to us, as having a single trait at variance with humans, and most everything else pretty much similar.

That single different trait is the first defining attribute presented, and often repeated in various forms.  For the Atevi it is that they don't love, and can't understand Love, but have all other emotions plus one humans can't understand.  They bond in couples, and have vast and complicated political alliances often based on family relationships.  In other words, they're more human than we can realistically expect any aliens we meet (or find the ruins of) to be.

The Atevi form their political alliances around a Leader - a single dominant individual.  And the dominant individuals vie with each other to be the most dominant among all dominants.  But with Atevi, that dominate individual may be either male or female, and the distribution seems fairly random.

We have also seen Gene Roddenberry's Vulcans at least revere an elderly but dominant female, T'Pau.

So, according to that article on chimps and bonobos, there is a distinct difference in brain configuration that developed when a river formed and divided their mutual ancestors geographically.  They evolved in separate directions, and today that brain distinction manifests as a difference in gender of the Leader.

So, should that cliche opening line for a First Contact story be, "Take Me To Your Dominant Female?"

And if so, then what for?  I mean why would Aliens land and make a bee line for a Leader?  Doesn't that plot-element require that the Aliens only do business leader-to-leader?

Is there a fallacy embedded in the whole concept of Leader?

Note, Roddenberry and Cherryh both depict their main Aliens (who will produce individuals who bond with humans) as having leaders.  The Atevi need leaders.  All hell breaks loose among Atevi if Leadership fails.  They are essentially evolved from herd creatures and physiologically need a Leader.  Vulcans, on the other hand, appear to have chosen a social structure organized around a Leader, and a group of Leaders creating a structured government.

The question a writer of romance stories should address when designing an Alien Lover is, "Do humans need leaders?"

When you have a vision of human "society" (as opposed to generic Great Ape society), what humans absolutely need and what humans choose as convenient (because we're lazy apes) or what we choose because some among us are big bullies and grab leadership, then ask yourself what humans need Leaders for.

What purpose or function do human leaders serve?  What happens among leaderless humans (such as a random collection of survivors of a lost colony -- or maybe a colony on Mars).

What is the connection between social Leadership, and Command of "the economy?"

What is "economy" -- where does it come from, who makes it happen, why does it happen, what is it for, and who needs it anyway?

Does an "economy" need a leader as society does?

Now presumably, aliens operate their economy according to the same laws and principles that humans do.  It is something we ought to have in common with any space faring species.  Many famous First Contact stories ...

(such as In Value Decieved In Value Deceived by H.B. Fyfe
Analog/Astounding Science Fiction, November 1950, pp. 38-46
http://www.unz.org/Pub/AnalogSF-1950nov-00038  )

...depict Trade as the first transaction, not friendship, love or even war.

C. J. Cherryh took that approach with the story of how the first human colonists moved from the Space Station around the Atevi world, down to the ground.  At first meeting, the humans managed to start trading with the local Atevi -- much as the first colonists in North America traded with the Native Americans.  It was only later that misunderstanding due to that single Atevi trait that differs from human caused war to break out.

In human sociological history on Earth, we have seen trade precede war many times.  Trade (or an economic transaction -- Value for Value) is perhaps more fundamental to human nature than even sex or war.

Language evolves rapidly and diverges when there is isolation.  If you are writing Historical Romance, you should keep in mind that modern characters could not pop back in time and understand spoken English.  Even written English is not that easy, if you look at some actual manuscripts.

https://scholarlykitchen.sspnet.org/2016/03/25/how-far-back-in-time-could-you-go-and-still-understand-english/

Even today, with the internet, populations that do not communicate with each other (such as the age-gap) evolve different meanings for the same words. Thus on this blog, I try to define the difference between what I designate as Plot and what I designate as Story, many times.  Plot is the sequence of events or character actions; story is the characters' reactions to those events, feelings and motives, lessons learned. Plot is generally external, Story is generally internal. Many writing teachers reverse the meanings of the words, but all identify these two separate moving parts of the novel's mechanism.

So when you are building an Alien Civilization from scratch, keeping in mind the "one-difference" rule, you might decide that since C. J. Cherryh has already done "Love is Incomprehensible" and Gene Roddenbery started to do "Emotion is Incomprehensible" then chickened out (but I did it in Kraith
http://simegen.com/fandom/startrek/  ),
you might want to explore what single difference your Aliens might have in the realm of Commerce that would make, say, MONEY incomprehensible.

We make many assumptions about "money." It is such a common idea, dating back before Biblical Times, that we often assume that all creatures in the cosmos have money.

But really, what we use for money now is very different from what it was 4 thousand years ago.

Coin of the Realm is a term which had literal meaning.  The reason Julius Ceasar's profile was on coins was that The Leader was the creator of COIN.  The coin was "of the Realm" -- the kingdom or empire struck the coins.  The original concept was that the coin was made of something that had intrinsic value (gold, silver).

Common practice was to shave slivers off the edges of coins and then pass off the light-weight coin as a whole coin.  Also coating wood -- the wooden-nickle -- to look like money was done.  Counterfeit Money has always been with us since money was invented.  Today it's hacking into the bank computers and jiggering the numbers.  Or the Federal Reserve (Central Bank) just printing more of what looks like money but is as counterfeit as any criminal's coin, having the same effect on the economy as counterfeit money does.

Remember, counterfeiting was weaponized in World War II to bring down whole countries by flooding their economy with bogus bills.

So would such deception be the expected practice with your Aliens?  Or would they have an economic system which was immune to counterfeit coin of the realm?

How would you design an economic system that was impervious to a counterfeiting flood (or hacking, identity theft and taking out a mortgage in your name which essentially counterfeit's your personal realm's coin?)

Note how Roddenberry created Aliens lacking all emotion, but Cherryh created aliens lacking only Love, but replaced "Love" with another emotion rooted in different biology.

Look at chimps and bonobos. They trade in mutual grooming, share food, and create an "economy" based on sex and dominance.  Yet they're smart enough to figure out how to cooperate to get food.  Wolves bring down large prey in packs, cooperating for food but then letting the dominant wolf apportion the meat.  Apparently, human tribes can develop a society based on that cooperative model on a tribal level.

One question you, as world builder, have to answer is, "Once food (wealth) is acquired by cooperation, does The Leader apportion the wealth among His/Her followers as he chooses, or do the individuals who cooperated snatch what they think is their own portion?"

Poul Anderson, among many early science fiction writers, pointed out the way to build Alien Species that "make sense" to modern, human readers is to examine the basic biology of animal species that really exist on Earth and extrapolate what kind of civilization that biology would generate, given evolved intelligence.  He founded a long and prolific career on that method, and modern science fiction writers tend to follow that rule successfully.

Understand the biological drives shaping human cultural choices about Trade (such as they may be free will choices), then find one parameter to change to create your Alien.

Which parameter you change, and from what to what you change it, will define your THEME.

Your plot will explode outward from that premise with natural inevitability. You will have depicted an abstract statement about the nature of Reality in concrete terms as we discussed.

http://aliendjinnromances.blogspot.com/2009/03/communicating-in-symbols.html

Or in this entry on depicting Dynastic Wealth:

http://aliendjinnromances.blogspot.com/2015/01/depiction-part-5-depicting-dynastic.html

To do that as well as Roddenberry or Cherryh have done with emotion, you have to understand what money is to humans, and why we created it, then change that why to make your Aliens.

Humans started with barter -- trade.  I'll trade you this horse-halter for that bushel of corn?  No, no not THAT bushel, it's wormy.  This nice halter is worth that other, nice fresh clean bushel of corn.

Trade is object for object -- and it is all about what an object is worth to you, right then.

I'll trade you this gold coin for that bucket of water?  No, this water was too hard to come by -- I'll give it to you if you give me that horse.  Well, if I don't have a horse, I don't need a whole bucket of water.

Value is subjective and situational.

If you're dying of thirst, water is worth all the gold you are carrying.

The value of your aching back (drawing a bucket of water up from the bottom of a deep well sans donkey) vs. the value of a bushel of corn you could buy in town (5 mile walk away, then back again hauling a bushel of corn) if only you had a gold coin to give to the farmer in the market (provided you could get there before the market closed or all the corn was gone.)

Calculating the value of a gold coin is a vitally important skill, and always has a wild card factor, a gamble involved.

Today we call that arbitrage.

The value of a material object, or a coin, is fundamentally guesswork.

A gold coin, or a hundred dollar bill (actually a 1 ounce gold coin is about $1200 today), is coin of the realm, and medium of exchange.

You can "sell" a bucket of water for the value of the water, plus the value-added by that water being in a bucket at ground level rather than 200 feet down a well.  You might sell the leaky wooden bucket with the water -- or not.  Separate deal.

You give the water, you get the coin, you carry the coin to town, you give the coin, you get the bushel of corn.  Now you don't have any water to cook the corn in and you're 5 miles from home where you can shuck the corn and cut the kernels from the cob, making the burden lighter.  You have to pay someone so you can borrow their wagon?

That's an economy.  The bushel of corn cost someone a sore back, too, and a year's work tilling the soil, pulling weeds, etc etc -- it's not easy growing corn.  In the price of that bushel of corn is also figured the cost of paying soldiers to defend the land from invaders who would steal the corn and kill the farmer.  To pay the soldiers, the Leader has to create Coin of the Realm as a Medium of Exchange.

Aliens might trade in buckets of water, but might not have corn, or any kind of vegetable crop. Maybe they only eat animals, but they surely eat something.

Last week, we examined the very definition of life, itself.

http://aliendjinnromances.blogspot.com/2016/08/alien-sexuality-part-two-what-is-life.html

The value of "life" has mystical variables -- which you can pick through to find that ONE element to change to generate your Aliens.

http://aliendjinnromances.blogspot.com/2007/12/8-pentacles-kavanah.html

So what is the "value" of work?  A material object (hunk of wood, for example) is worth something -- variable with how difficult it was to acquire, how rare it is.  That same material object plus "work" might equal a Polished Soup Bowl, a Comfortable Rocking Chair, hoops-and-loops to hold clothing together (frogs), table, shelves, hair clasps, whatever you can make out of wood.  To make those things requires a) skill and b) time maybe c) bleeding from splinters.

The work is intangible, but has VALUE in coin-of-the-realm.

Consider that the realm authorizing that coin is your own, personal, only-you, ecology of one person. You are a sovereign individual.

Read Clan of the Cave Bear .

http://www.amazon.com/Clan-Cave-Bear-Earths-Children/dp/0553250426/

This famous novel depicts the economy of the sovereign, lone, individual.

Every collected object used for food, clothing, shelter, has an assigned value in time-effort-energy and in how replaceable it is.  When the hero returns "home" to find his little shelter utterly destroyed, you understand what a dollar actually IS.  You understand what ownership and sovereignty is.  And you understand what Capitalism really is (as opposed to what "they" have told you capitalism is.)

The rule of Fallacy being more popular than Accuracy seems to hold with respect to Capitalism.

But words are as variable in value as coins.

Again, consider how language shifts and changes -- the same words do not mean the same thing to all people.
https://scholarlykitchen.sspnet.org/2016/03/25/how-far-back-in-time-could-you-go-and-still-understand-english/

A word is "worth" (e.g. means) what you say it does, just as a coin is worth what you think you can get for it (fallacious thought or not.)

Today's online dictionaries try to keep up with the ever changing definitions of words.

https://www.vocabulary.com/dictionary/capitalism

... defines capitalism thusly:

----------quote---------------
an economic system based on private ownership of capital
Synonyms:
capitalist economy
Antonyms:
socialism, socialist economy
an economic system based on state ownership of capital
Types:
venture capitalism
capitalism that invests in innovative enterprises (especially high technology) where the potential profits are large
Type of:
free enterprise, laissez-faire economy, market economy, private enterprise
an economy that relies chiefly on market forces to allocate goods and resources and to determine prices

--------end quote-------------

No, that's not it.  "Capitalism" is actually just a system of describing what the hero of CLAN OF THE CAVE BEAR lost when his belongings were destroyed -- belongings he had gathered raw materials for and crafted into items essential to his survival.

"Capital" is not MONEY.  Capital is not COIN (of any Realm).

Capital, like the "Packing Fraction" from physics, is the Money you do not have BECAUSE you have a thing instead.


---------quote----------
The ratio of the total volume of a set of objects packed into a space to the volume of that space. The difference between the isotopic mass of a nuclide and its mass number, divided by its mass number. The packing fraction is often interpreted as a measure of the stability of the nucleus.
Packing fraction | Define Packing fraction at Dictionary.com

http://www.dictionary.com/browse/packing-fraction

----------end quote---------

As in Physics, Capital has stability measured by how much it cost -- how MUCH is NOT THERE, how much it would take to pry your hot fist away from your possession.

Understanding this secret of reality (hidden by changing definitions of words) makes the difference between the rich and the poor.

I've discussed Rich Dad: Poor Dad previously.  The book explains how what we sometimes call the "cycle of poverty" is more a matter of language facility than wisdom or skill at life.  By cycle of poverty, I mean the phenomenon of poor parents raising poor children trapped in poverty all their lives, raising another generation of poor kids.

We have many prominent examples of those who have 'broken the cycle of poverty' among our political candidates in 2016.

We have Dr. Ben Carson, Marco Rubio, even Ted Cruz, -- they all have tales to tell of that steep, hard climb out of having nothing.  They do not seem (from what they say in public) to understand that what they did depended on knowing the difference between money and capital, but look closely at their stories and it is plain as day.

Rich Dad Poor Dad: What The Rich Teach Their Kids About Money - That The Poor And Middle Class Do Not!   Robert T. Kiyosaki

https://www.amazon.com/Rich-Dad-Poor-Teach-Middle-ebook/dp/B0175P82RA

The secret is simply that capital is not money.  You can 'save' capital.  You can NOT 'save' money.  When you put "money" in a bank, it becomes "capital."  (unless it's in a checking account to be spent).

Money (coin) is a MEDIUM OF EXCHANGE -- it is worth whatever two entities (Aliens included) think or say or determine it is worth.  The real value of "money" lies in its velocity, the rates and direction of movement of the coins.  Money is a force (mystically, you can consider it fueled by the Soul.)

Capital is fixed, real, tangible asset that is worth to you exactly what you paid for it, what it cost you to acquire, and that includes emotional investment.

This is what the Atevi can't grasp -- humans LOVE the objects they invest their emotions into (grandma's hand-stitched quilt is worth more than the scrap rags she made it from).  We make things, and we "love" those things because we made them.  It is a capital investment of Self.  We even accuse people of "loving" Money.

Your potential work (your aching back) has a value to you, independent of anything anyone else might think it is worth.  Your potential work is your human capital.  It is potential 'value' because it is unrealized.  You can't exchange it. You can't move it.  You can't reassign ownership.  It is capital.

Money and Capital share a property that I expect Aliens would understand.  Money and Capital can both be "made."

As in Clan of the Cave Bear, a single individual can gather material objects in one spot and craft mission-critical items from that material.

The gathering costs expenditure of capital (remember, labor, your aching back, is your capital).  The crafting (learning to do it, then doing it, failing, discarding gathered material ruined by failure, finally succeeding) of the matter into a usable object costs an expenditure of Capital.

Life -- time, effort, energy, health, RISK, combat with others, competing for rare stuff -- is your Capital.  You invest that capital by gathering then crafting.  Now you HAVE an object that is mission critical, and that object is Capital.

For more iconic imagery on this abstract definition of what is money and what is capital, watch the film Enemy Mine.

http://www.amazon.com/Enemy-Mine-Dennis-Quaid/dp/B000I9YXOC/

This is a true Love Story, complete with human/alien pregnancy, sans sex!

When corporations report "Capital Expenditure" they do not refer to taking Capital (land, buildings, factory equipment) and selling it.  They refer to taking from incoming cash flow and BUYING land, buildings, equipment.  For example, if you own a house, and it needs a new roof, you do a Capital Expenditure, spending your wages or salary to buy a new roof (or the materials to go hammer a new roof over your head yourself.)

Capital is STATIC -- trapped, concrete -- but MONEY has a value derived from its VELOCITY.  How trade-able is your gold or silver coin?  What is a dollar worth?  Capital is what you exchange (barter) but Money is the medium by which you exchange it.  Money is a SYMBOL.

http://aliendjinnromances.blogspot.com/2009/03/communicating-in-symbols.html

Coin of the Realm has a value based on the value of the Realm, itself.

Your aching back is the coin of your own, personal, sovereign realm.

I think any living Alien species we meet up with will be able to comprehend an aching back (or carapace), or at the very least, "Whew!  I did it!"

Of course, a hive species might have a problem with "I."  Writing a Human/Alien Romance with a hive species might be a challenge.

But assume your Aliens are individuals, and here they are among 21st Century humans on Earth (or maybe finding a human colony on Mars or "out there" somewhere.)

How will they understand working for a living?  Paychecks?  Cell phone bills.  Starbucks expensive coffee.

The film Starman gives you a start on this problem.

http://www.amazon.com/Starman-Karen-Allen/dp/B004ZCM2Q4/

This kind of story fairly well defines science fiction.  In a First Contact situation, you have to set aside your assumptions because they are all probably fallacious.

C. J. Cherryh depicts this process with razor sharp precision in the entire FOREIGNER series, but targets it especially well in the novel VISITOR where the language of the new Aliens, the Kyo, has to be puzzled out nearly from scratch.

Finding your own fallacies amidst your assumptions is extremely difficult, but it is in fact one of the primary skills of the working scientific researcher.  Nothing blinds you to facts more than your assumptions, and how assiduously you have examined your assumptions determines how blinded you will be by Romance.

So, what if your Aliens have as many unexamined and possibly fallacious assumptions as the human Characters in your Romance story?  That could be a source of Conflict for your couple, and misunderstandings greater than C. J. Cherryh has depicted.

Armed with that idea, and your own personal take on what an economy is, where it comes from, why bother to have one, and what "labor" is (Capital or Money?), and who owns the resulting material objects, write a 750 piece of dialog for a First Contact Romance novel.

Consider the subject might be the Minimum Wage.  Suppose the Alien is trying to hire a Security Guard for a foray into the White House and an official, "Take Me To Your Leader" meeting.

What should the Alien pay?  What multiple of the Minimum Wage?  And how do you convince an Alien (with an alien idea about paid labor and skilled labor) to pay that much?

Depict that entire Alien culture's economic system in 750 words of dialogue, and spark the hottest Romance in this Galaxy.

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

Of Petitions, Persecution? White Roofs and White Roads.

Are you an author and a copyright owner? Do you agree that copyright promotes and protects free speech and creativity? If so, the copyrightalliance has written a petition to the 2016 political candidates, and you are urged to sign it, too.

http://takeaction.copyrightalliance.org/21036/open-letter-to-2016-political-candidates/

That's the positive. On the negative side, an artists' rights blogger has made a strong statement that President Obama has presided over the worst every administration ever with regard to copyright and the rights of creators (especially songwriters). It's interesting reading.

https://musictechpolicy.com/2016/08/04/mr-obama-meet-mr-kafka/

This week (and this is purely personal) I had my flat roof painted with silver-coating. I do this every few years to preserve the roof, also to reflect heat and thus put less strain on my a/c system and on my wallet.... and on the planet.

Here's an interesting article about The White Roof Project.

http://www.whiteroofproject.org/faq

Apparently, cities are "Heat Islands" and can measure temperatures up to 22 degrees F hotter than the suburbs owing to the heat-absorbing properties of black tarmac on roads and roofs, and of cement etc. One wonders what the science fiction DUNE worlds would have been like if modern scientific theory had been followed, and the desert sands were covered with (presumably white) plastic sheets.

https://www.theguardian.com/environment/blog/2009/jan/16/ethicalliving-climatechange

As we may lose the reflective whiteness of snow and ice, perhaps substituting other white expanses might be helpful, even if they are not exactly cold white?

Like white roads? http://cleantechnica.com/2014/06/04/white-roads-help-reduce-urban-temperatures/
It is claimed that white roads in Australia have reduced temperatures by as much as 12.6 degrees F!
http://livinggreenmag.com/2013/01/03/climate-change/can-white-roofs-fight-global-warming/

All the best,

Rowena Cherry
For a limited time, Forced Mate, autographed, is $4.70 + $3.99 shipping.
https://www.amazon.com/gp/offer-listing/0505526018/ref=olp_f_new?ie=UTF8&f_new=true

Amazon charges the seller (me) $3.05 and media mail shipping is $2.61

Suspension of Disbelief

I recently read SIRE AND DAMN, the latest (I hope not the last, but I fear it may be) "Dog Lover's Mystery" by Susan Conant. It started me thinking about the conventional but "unrealistic" elements mystery authors have an implicit agreement with readers to treat as believable, similar to the theatrical convention that actors can speak "aside" to the audience without being heard by any other characters onstage.

Most obvious is the convention that makes amateur detective series possible at all. We have to accept as normal that a hero or heroine not involved in law enforcement, an investigative profession, or the criminal underworld encounters dozens of murders in his or her daily life. It's the phenomenon that gives the small Maine town in the TV show MURDER SHE WROTE a higher per-capita homicide rate than Baltimore or Washington. Sometimes the author offers a sort-of rationale for the protagonist's repeated clashes with violent death. Walter Mosley's series protagonist Easy Rawlins, a black man in post-World-War-II southern California, builds a reputation in his community for solving problems people don't trust the police to deal with. Similarly, Barbara Hambly's "free man of color" in antebellum New Orleans, Benjamin January, after unraveling a few mysteries in which he accidentally gets entangled, becomes the person his friends and acquaintances—black, white, and mixed-race—turn to when delicate problems arise. Most "cozy" mystery series, though, simply ask the reader to accept the premise that a chef, a writer, or (as in Susan Conant's series) a dog trainer will trip over a murder or two every few months.

Likewise, we expect the murderer to be revealed as a member of the heroine's circle of acquaintances, not someone from out in left field she's never met. In the classic tradition established by such authors as Agatha Christie and Dorothy Sayers, pinning the crime on a character not included in the roster of suspects would be considered unfair to the reader.

The more hard-boiled varieties of murder mysteries, the kind with a higher level of onstage violence, feature another "unrealistic" convention: The hero or heroine usually gets knocked unconscious at least once per book. Yet he or she recovers (sometimes after a credible period of recuperation, sometimes "unrealistically" fast) and soldiers on through adventure after adventure with no sign of permanent brain damage. Given all the recent media publicity about the dangers of concussions (in children's athletic programs, for instance), we have to accept the hero's phenomenal toughness and good luck as part of our genre expectations.

More often than chance would predict, early in the story the protagonist comes across just the bit of specialized or confidential information that she'll later need to solve the case. This example seems to me a borderline case; the effectiveness of suspension of disbelief depends on the author's skill in planting the information in the natural flow of the action. It stretches the bounds of credibility, however, when the amateur detective just happens to overhear a fragment of dialogue that conveys the vital piece of missing information. There was a TV series about a crime-solving priest and nun that, although it was lots of fun, did that kind of thing too often. One of Elizabeth Peters's suspense novels satirizes this device when the heroine sneaks into the villains' lair and eavesdrops on them, lamenting that nobody conveniently says something like, "I will now go to the dungeon and check on our prisoner, who is in the third cell on the right."

In general, any reliance on coincidence to solve the mystery is problematic; an author might be allowed one such incident every now and then, but a little bit of coincidence goes a long way. There can be a fine line between disbelief being suspended and (as Marion Zimmer Bradley used to say) hanged by the neck until dead.

Then there's the direct opposite, Tolkien's "secondary belief," when an author draws the reader so deeply into a fictional world that it comes to life for us. No "suspension" is needed, because we experience the secondary world as a realm that could truly exist on a different plane of reality.

Margaret L. Carter

Carter's Crypt

Alien Sexuality Part Two - What Is Life? by Jacqueline Lichtenberg

Alien Sexuality
Part Two
What Is Life?
by
 Jacqueline Lichtenberg

Part 1 of this series on Alien Sexuality is
http://aliendjinnromances.blogspot.com/2010/12/alien-sexuality-part-one-root-of-all.html

Part 1 is about the root of all conflict -- i.e. sexuality itself.

Last week
http://aliendjinnromances.blogspot.com/2016/07/reviews-27-foreigner-series-by-c-j.html
we discussed the various reasons writers of Science Fiction Romance novels should be sure to read C. J. Cherryh's FOREIGNER series novels, if not the entire Alliance-Union universe novels.

One reason we did not discuss for reading this 16 book series was the underlying style of the writing in the Foreigner novels.

They are chatty, internal dialogue focused, watching the linguistic gears mesh (or fail to mesh) inside the mind of a human who is being acculturated into a non-human society, and ends up sleeping with an Alien who does not have the capacity to comprehend the emotion of "Love."  This Alien has a totally different, but equally "hot" emotion.

The current trilogy in the FOREIGNER series (so far, no cross-fertilization) opens a new jar of worms with the main protagonist (Bren Cameron) once again acting (after way over-thinking) to disrupt the balance of power in a war between the Kyo and a segment of humanity his own group of humans lost touch with two centuries before.  So those humans would be almost as alien to him, culturally, as the aliens he lives with (the Atevi).

To create such a large canvas as C. J. Cherryh writes on (the Universe called the Alliance-Union universe), a writer needs a very large set of what I call "nested themes" -- wheels within wheels -- themes that accrete in layers like the layers of a natural pearl.

We discussed nested themes here:
http://aliendjinnromances.blogspot.com/2011/10/believing-in-happily-ever-after-part-4.html

Since this blog is about Alien Romance -- romance between a human and a non-human -- whether it be ostensibly science fiction or fantasy or Paranormal -- we focus on when, how, and whether to blend "science" with "romance."

I define "Science" as the facts we know (by independent verifying experiments) to be true about the structure of the universe organized in a way that the body of knowledge can be passed down from one generation to another, added to along the way.

I define "Fiction" as the art form that creates a story out of a selective arrangement of subjective "facts" (or emotions, spiritual states, Eternal Truths learned or discarded).  A story may not be "true" at all, but has the power to reveal truths otherwise imperceptible.  Story is an art form -- and can use real people and true facts about their actions arranged to reveal something which might not be true.  The same art form can be used on imaginary people and non-real facts about what they did and why.

Sometimes, fiction can reveal more about reality because nothing in the story is true.

When you put Science and Fiction together in a seamless blend you may be able to "pass down from one generation to another" the Wisdom of the Ages.

Now add Romance to that mix, and you can communicate the Wisdom of the Ages about Life itself.

Science is in hot pursuit of "the origin of life" -- not just "life on earth" but the origin of life itself, somewhere out there among galaxies like grains of sand.

-----------QUOTE-----
In a fascinating 2014 study for Nature, a team of scientists mapped thousands of galaxies in our immediate vicinity, and discovered that the Milky Way is part of a jaw-droppingly massive "supercluster" of galaxies that they named Laniakea.
---------END QUOTE--------

http://www.vox.com/2014/9/4/6105631/map-galaxy-supercluster-laniakea-milky-way

In that image, each of the tiny pixel sized dots that make up the hair-like threads of light -- each dot is a whole Galaxy, some bigger than ours.

Studies are turning up "earth-like" planets and traces of complex organic chemicals far out in space, chemicals which are either the building blocks of "life" or maybe the by-products of "life."

Current arguments debate whether Earth is surrounded by deceased civilizations out there somewhere, or embedded in (maybe at the edge of?) interstellar traveling civilizations we just haven't found yet. (which may or may not have found us.)

Yes, that very old debate is once again raging.

So a science fiction romance writer has to do what C. J. Cherryh has done and postulate the basic facts about that image of all the galaxies like grains of sand.

Science deals with the physics, math, and chemistry -- with Higgs Bosons and other nifty particles that the Hadron Collider is documenting.  Fiction deals with the ultimate truth behind that scientific reality, with reasons and motives.  Romance combines to create that which lives, which propagates.

Classic biology identifies 5 basic functions that define "life" as opposed to matter in general.

If you want to turn your ad-block off, you can find a good primer on basic biology here:

http://slideplayer.com/slide/5956766/

But that is derived from life on this little planet.  Science Fiction has long postulated a wide variety of kinds of sentients with "life" distinguished by other factors.

To create a "romance" that modern readers will believe well enough to enjoy, you need your alien member of the couple to be configured somewhat like humans -- even if other species in the novel are very different.

Such a species would, like humanity, have imagined, postulated, encountered, or otherwise discovered or perceived (maybe prophesied) a Cosmology and Cosmogony.  They would have their own notions of how things work.

You, as the writer, need a notion of how your Aliens approach describing the cosmos, and what moral principles they might derive from that description.  To begin writing your saga, you do not need to create the entirety of the Alien's history and religion.  You need only one, fixed, vividly delineated difference between your Aliens and your human readership.

That one starting point will lead to all the rest, and sometimes it is best if you do not consciously know all the details but discover them with the reader as you go.

You can find examples of Alien ways of looking at reality all over the literature of science.

Take, for example, the question of "What Is Life?"

Even the question is ambiguous.  Does it refer to growing up, getting married, having kids, defaulting on a mortgage, getting divorced, etc?  We say "that's life" with a sigh and a shrug when stuff goes wrong.

Or the question could refer to the simple facts of biology as delineated in the five basic functions of living organisms.

If you can find a philosophical point where the two meanings of that Question coincide, you can generate an entire set of nested themes (like that pearl mentioned above) rooted in that single concept.

For example, today, in the midst of the political fracas in the USA, one pivotal issue (other than The Economy and War) is Abortion.

How could you explain to your visiting Alien the simple biological process of voluntary reproduction becoming a political football?  How could you explain the adamant pursuit of "the origin of life" -- either out in the galaxy, seeded onto our primeval Earth by meteors, or arising uniquely on this planet?  And from the other direct, the biologist's pursuit of the moment "life" "begins."

This year, biologists discovered a "flash of light" emitted at the moment of conception when human sperm meets human egg cell.

http://www.telegraph.co.uk/science/2016/04/26/bright-flash-of-light-marks-incredible-moment-life-begins-when-s/

It is the result of a chemical reaction, nothing mystical.

But immediately, the political dimensions are apparent since the argument against abortion is that a fetus is a human life, and killing it is murder under the law.  However, the law in the USA is settled at the adult woman's right to choose whether to gestate that fetus -- or not.

So some humans regard the discovery of a chemical reaction at conception as proof that a human "life" (in both senses, marriage-kids-divorce, and 5-basic-functions) begins at joining of sperm to egg cell.  The two-celled organism is a human being with all the legal rights and protections due a human being.  Others are offended that anyone could use SCIENCE, the main opponent of ignorant superstitious nonsense, to take away the basic human right to control one's own reproductive processes.

Note how REPRODUCTION is one of the 5 signature traits of "life" -- and nowhere in the biological (scientific) definition of "life" is there anything about voluntary control of any of these 5 traits.  In fact, there's nothing "voluntary" about "life."

What would your Alien think of this argument?

Would he/she consider all reproduction voluntary?  Would your alien's very biology require the alien to will themselves to become pregnant?

The concept of "Free Will" is actually somewhat "mystical."  Free Will is a property of the Soul, usually considered to be the key to spiritual growth.  Choose, of your own free will, to do good rather than evil, and you will experience "life" in a more fulfilling and satisfying way -- a very mystical concept.

Today there is some scientific investigation into the idea that we actually do not have any Free Will.

http://www.iflscience.com/brain/free-will-may-be-more-illusion-we-previously-thought-claims-study

Free Will may be imaginary?  Or we, as a society, could come to believe that and structure our various cultures around that idea, then meet up with Aliens who are convinced they have Free Will.

Here's an article about the illusion of Free Will published in May 2016.

http://www.iflscience.com/brain/free-will-may-be-more-illusion-we-previously-thought-claims-study

-------------QUOTE---------
“Our minds may be rewriting history,” Adam Bear, a Ph.D. student in the Department of Psychology at Yale University and lead author of the study, said in a statement. The implication here is that when it comes to very short time scales, even before we think we’ve made a conscious choice, our mind has already subconsciously decided for us, and free will is more of an illusion than we think.
-----------END QUOTE-------

Yes, and our favorite Alien, Spock, may be the result of deliberate genetic mingling because it was the logical thing to do -- if Logic rules, then obviously Will is not "Free" - right?

Would studies like this reveal "hard science" facts that would have to be accepted by any Alien life anywhere in all the galaxies?

The Higgs Boson is a "fact" of that sort, as is the curvature of space, and the variability of "time" (whatever time might be).

But mere facts do not always impinge meaningfully upon intelligent minds, and 'sentience' is an illusive thing we will not nail down until we've met up with several space-faring species.

So, then, "What Is Life?"

Is the question a mystical one?  Or a scientific one?

Is there an "either/or" structure to that dichotomy?  Is "life" either one thing, OR the other?  Is the Universe "Zero-Sum" -- either this or that -- binary?

Or are there shades of gray?

Consider that your visiting Alien Hunk may look at our political tangle over abortion and find his eyes (one assumes he has some) crossing.  In May, 2016, a judge ruled on the stored embryos (which already emitted their spark)  of a divorced couple, bringing the Law into the personal reproductive decisions of individuals.

http://www.chicagotribune.com/news/nationworld/ct-divorced-couple-embryos-20151118-story.html

If you want to craft a theme involving Law and Religion (which publishing wisdom says you must never mix), looking at court cases such as this from an Alien angle could provide dynamite ideas. Make that an interstellar court run by some consortium in which Earth does not hold membership.

Consider that your visiting Alien Hunk may look at our political tangle over abortion and find his eyes (one assumes he has some) crossing.

The Alien Hunk may look at our religious take on the importance of that SPARK at the joining of sperm and egg cells (which also happens with animal conception), and conclude that the entire human species is stark raving nuts.

"Everyone knows," he will tell you, "that the entire universe is infected with life, with living cells, sluicing through space in many spore forms.  The origin of human life is the origin of life itself, trillions of years ago in the farthest galaxy."

If you think about it that way, he might declare, you will see there is nothing special about human life.

Now, will he accept the idea that the distinctive trait of people (human and otherwise) is that they have and exercise Free Will?  That Free Will is a property of Soul?

Or perhaps there are "people" who do not have Souls?

I discussed THE FLICKER MEN by Ted Kosmatka in Septemper 2015 blog entry:

http://aliendjinnromances.blogspot.com/2015/09/reviews-19-by-jacqueline-lichtenberg.html

He postulated alternate universes and humans here on Earth who had Souls -- others that did not.  Wonderful writing, great concepts, good characters, strong Relationships, and a must-read for Science Fiction Romance writers. You can pay homage to this great entry into science fiction by creating a Romance where not all your Aliens have a Soul, and what difference that makes (if any).

http://www.amazon.com/Flicker-Men-Novel-Ted-Kosmatka/dp/0805096191/

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

Getty Images Is Sued For One Billion Dollars

Getty Images apparently tried to shake down photographer  Carol Highsmith for using one of her own photographs on her own website.

http://hyperallergic.com/314079/photographer-files-1-billion-suit-against-getty-for-licensing-her-public-domain-images/

Now she is suing them for a billion dollars (triple damages). This may be the tip of the iceberg! Something is very wrong with the DMCA and the morality of tech businesses that appropriate other people's works from the internet, and claim exclusive rights to those works.... and do not pay the creator, do not seek permission of the creator, and even seek to accuse the very creator of copyright infringement of their own works.

Getty Images was apparently sold a couple of years ago for over three billion dollars.

Here's an interesting discussion of what to do if Getty Images tries to demand a fee from you for images you are using.

http://artlawjournal.com/tips-responding-getty-images-demand-letter/

Maybe, if you get a letter from Getty, you should first check the Library of Congress, to see if the image in question is one of the tens of thousands that the public has the right to use without paying anyone.

All the best,
Rowena Cherry

Microbiome Evolution

Recent research about the human microbiome—the ecology of the microorganisms that live in our bodies—indicates that the many species of flora and fauna inhabiting our digestive tracts originated with our prehuman ancestors and evolved in parallel with them:

Primates and Gut Microbes

A genomics researcher in Bethesda, Maryland, suggests that "this mutualistic symbiosis helped the human species evolve." We inherit not only our genes but our internal symbionts.

Another article I read about this discovery mentions that the cumulative mass of microbes in our intestinal tract typically outweighs our brain. It's boggling and humbling to contemplate how much of what we call our own body consists of alien organisms, most of them friendly or harmless.

This topic reminds me of Madeleine L'Engle's A WIND IN THE DOOR (sequel to her classic A WRINKLE IN TIME). Young heroine Meg becomes miniaturized in order to travel inside the body of her gravely ill little brother, Charles Wallace. She meets submicroscopic creatures who live in Charles Wallace's mitochondria. To these beings, a cell is their entire world, and Charles's body is a galaxy. They don't even realize their "galaxy" is sentient until Meg enlightens them. They and she become aware of the vital interconnectedness and inestimable value of all parts of creation, no matter how tiny or vast.

Margaret L. Carter

Carter's Crypt

Reviews 27 - FOREIGNER SERIES by C. J. Cherryh #16 and #17

Reviews 27
FOREIGNER SERIES
by
 C. J. Cherryh
#16 Tracker
#17 Visitor 

C. J. Cherryh has structured her very-very long series of Foreigner novels into trilogies.  I'm going to discuss #16 and #17 here, and no doubt will return to this series again as we expect one more novel in this 6th trilogy in the Foreigner Series.

It is a study in worldbuilding as well as Relationship driven plotting.

Here is the complete Kindle collection up to #16 on Amazon:

http://www.amazon.com/Foreigner-Series-16-Book/dp/B0159KHS5A/

Here are the books so far, in publication order:

Foreigner, DAW Books, 1994.
Invader, DAW Books, 1995.
Inheritor, DAW Books, 1996.

Precursor, DAW Books, 1999.
Defender, DAW Books, 2001.
Explorer, DAW Books, 2002.

Destroyer, DAW Books, 2005.
Pretender, DAW Books, 2006.
Deliverer, DAW Books, 2007.

Conspirator, DAW Books, 2009.
Deceiver, DAW Books, 2010.
Betrayer, DAW Books, 2011.

Intruder, DAW Books, 2012.
Protector, DAW Books, 2013.
Peacemaker, DAW Books, 2014.

Tracker, DAW Books, 2015.
Visitor, DAW Books, 2016.

If you haven't read #1-15 of this series, you can still read #16 and #17 easily and understand what it is all about because the salient facts of "what went before" are filled in where needed.

C. J. Cherryh would never be considered a "Romance Writer" -- but if you are writing Science Fiction Romance, studying her works will give you all you need for springboards and themes that morph the typical Romance into real Science Fiction.

Of course, you can't just copy what she's built.  But you can see how she's brought her real-world education and background into the process of worldbuilding to create a convincing environment for stories that inspire study of her favorite topics.

To understand how she's used her background to generate her sprawling and complex Universe (the envelope title is "Alliance-Union" Universe), you do need to know something about her, and to read most of her novels.  Cherryh's professional background is in Languages, especially Latin, and her interests encompass all human history, pre-history, and cultural anthropology.

Her Aliens are Alien because she knows what "human" is, where it comes from, and how humanity develops and uses language.  That is the science behind her science fiction that produces such believable Aliens.

Here are some reference pages where you can see the sprawling, complex, background universe she's built for her Characters to explore.

http://www.cherryh.com/www/univer.htm

And here's Wikipedia on the Foreigner Series:

https://en.wikipedia.org/wiki/Foreigner_universe

In the Foreigner Series, we have a human linguist confronted with an Alien language based on Alien physiology that is treacherously close to human biology.  That closeness leads to inevitable errors in understanding because of the human trait of taking assumptions as facts.

Originally, such misunderstandings led to a human-alien war, which was resolved by a bit of more accurate communication.  Two hundred years pass after that war, and the FOREIGNER series starts with a linguist trained in that long tradition now tossed into the Alien culture which is thirsting for human technology, and resisting that technology for religious reasons.

Over the coarse of these novels, Bren, the Linguist, brings his world, humans and aliens alike, into a space age, then takes them out into interstellar space where they meet a new alien species that has space-ship mounted weapons and is not reluctant to shoot first and ask questions later.

Why are they not reluctant?

These two novels, Tracker and Visitor, begin to answer that question in a way that makes the Kyo (the new Alien species with big guns) seem easily comprehensible.  It is so easy to assume the obvious answer is true that one grows suspicious.

Also, over the coarse of these 16 novels, there is a kind of love-story woven into the linguist's life as Bren is isolated among Aliens.  And yes, he starts sleeping with the female whose personality bonds easily with his own.  They have a physical relationship, and a mental one, but emotionally  not exactly satisfying since these Aliens can't "love."

They trust each other. They seem to communicate well.  In Tracker and Visitor, they are at the "taking for granted" stage in a settled Relationship.  But the Alien female does not quite follow human conversations.

Think about the ideal Romance, the Soul Mate Couple meets, fight their attraction, reach an understanding, have their good times, have some bad times, and finally reach an HEA.  By then, every reader understands why these specific two people need each other, and why the world is better off because they are together.

The key to crystallizing a Soul Mate Relationship is communication.  Beyond that comes emotional satisfaction built on Trust.

Marriages can function without much overt communication as long as there is Trust.

The Relationship between Bren and his Alien lover (who is also one of his Security Guards) exemplifies and personifies the essence of Trust.  His life is literally in her hands, daily.  Her strength and reflexes, and her Will to place herself between him and danger, are at the root of this Relationship.

Their trust in one another is mirrored, thematically, in the growing trust between the human community stranded on the Atevi planet and the Atevi themselves.

Part of the appeal of the first 15 novels is the gradual unraveling of the Atevi language, and how it is at odds with (and yet akin to) any language humans use.  Since there are factions of humans, there are several human languages to keep matters churning.

Getting deep into the Alien mindset via language is actually very Romantic.  In any standard Romance, the key to keeping reader interest is how the writer unfolds the intricacies of the other's way of thinking.  Hence the Romance with conflicts rooted in misunderstandings and secrets.

In Tracker and Visitor, Cherryh new secrets that Bren must keep (or not) as he finds out what the Kyo are doing here, why they shoot first and ask questions afterwards, and then (in typical Bren style) acts to change the Situation.

His action, in this instance, is to commission (without the authority to do so) a new Translator, giving that individual the few clues to Kyo language and mindset he's figured out and turning this hapless individual loose to fend for himself among Kyo.

Any reader will see immediately that Bren's action has altered the Balance of Power in the Galaxy in exactly the way his prior actions in this series have altered the Balance of Power on the Atevi home-world.  Is it Luck or Fate that he's still alive after all the crazy things he's done either without permission, or against prohibitions.

In short, C. J. Cherryh's Alliance-Union universe novels, which may (or may not) co-exist in the same universe of the multiverse with each other, all exemplify the various principles we have explored on this blog.  The world is built around a bundle of Themes, and a bigger bundle of related sub-themes.  Various characters live out their personal Stories learning the lessons of those themes by running afoul of the driving force behind them.

The master Theme behind all the Alliance-Union novels may be about the Nature of what it is to be Human.  Communication (usually via language) is a key element.  Commerce (in ideas, goods, technology) is another.  Put Communication and Commerce together and Civilizations get Created and also Crumble.  The shards of dead civilizations become the fertilizer for new ones.

One of C. J. Cherryh's areas of knowledge (and opinion) is real-world Politics.  On Facebook, she often explains current Events in terms of the underlying principles overlooked by most media commentators.

In the Foreigner novels, she has created political situations around centralized governments that work out (sometimes explosively) in very logical, and often relentless ways.  The politics driving various (crazy) decisions that affect planets and interstellar affairs, are composed of Communication, Trust, and Commerce based on that Communication.

These vast, impersonal, ambient forces, historical currents and massive principles, are exactly mirrored in the close, personal Relationships the Characters use to make decisions.

The Aliens are truly Alien because biology and brain configure language to represent the concrete world in ways different from how a human would see that same world.  We know because we see the Aliens through human eyes, and (as a child Alien grows up) we see the humans through Alien eyes.


The Aliens are believable because the vast, impersonal forces shaping the non-concrete world follow the same "laws" that human History and pre-History seem to follow.  A well educated reader who is widely read and well informed will see these congruities immediately.  To others, the Aliens may seem unique -- until the reader makes the acquaintance with human History (and pre-History) and discovers how fiction mirrors reality.

If you are studying writing craft, look at the vast, gigantic, immense tapestry behind the Alliance-Union Novels, and then read just one of the Foreigner novels.  Note how a tiny chip off the edge of the Alliance-Union universe provides a huge, deep, wide canvas upon which to show how personal Relationships work out on a planetary scale.

The writer's ability to focus tightly on just one Character, who knows almost nothing about the universe he lives in, needs to be studied and replicated.  It is the cornerstone of all Romance because that is our own everyday reality.  We don't even know how ignorant we are.

The essence of the Romance Novel is the focus on the significant other.  While reading a good Romance, everything else blurs and vanishes into the mists as the significant other becomes more vivid, three-dimensional, and consequential.  The hot-ness of the Romance is proportionate to the tightness of that focus.

Each Series within the Alliance-Union saga has that kind of focus, and that kind of pair of characters who become "everything" to each other.  Not all hot relationships are sexual or romantic.  C. J. Cherryh rarely deals, square on, with Romance, but her plots are always driven by searingly intense, pin-point focused emotion.

Study how she achieves that effect.

The "science" in her science fiction is linguistics.  The fiction is derived from human history and anthropology. The Conflicts are "ripped from the Headlines."  The experience of "life" especially in what it's like to think in two non-cognate languages, is exactly as I experience it.

I particularly love the Foreigner series because, while Bren's crazy decisions and crazier actions, are driven by emotion, those emotions form as a result of careful study of a massive amount of data.  He knows what he's doing -- he simply doesn't know that he knows.  That is how real humans function in our everyday life.

C. J. Cherryh gets this effect with Space as her canvass, necessarily including Time as a property of Space.

Robert A. Heinlein did it with the multiverse, using Time itself as his canvass, necessarily including Space.

How will you do it?

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

KickAss Torrents In Trouble

Authors don't have long tails.... when it comes to copyright enforcement news, and there was no mention of ebooks in the complaint against Artem Vaulin the 30-year-old owner of the hugely profitable KAT websites, that allegedly illegally shared billions worth of copyrighted materials without the knowledge or consent of the copyright owners. 

https://www.justice.gov/usao-ndil/pr/owner-most-visited-illegal-file-sharing-website-charged-criminal-copyright-infringement

Kudos to Zachary T. Farden, United States Attorney for the Northern District of Illinois for going after KickAss Torrents and seizing associated domain names. According to the complaint, over 50 million visitors a month visit the website, presumably with the intention of not giving copyright owners and those who rely on royalties and residuals as fair compensation for their creative work.

Apparently, this particular website is valued at over $54,000,000 and is funded by advertising that is estimated at between $12,000,000 and $23,000,000 a year. 

This author finds it astounding that no one ever talks about prosecuting the companies that place the advertisements on file sharing sites!

Authors might be interested in following a publicity rights lawsuit that is an object lesson in what not to do (like using a celebrity's name in to promotion after being refused permission to do so).

http://www.lexology.com/library/detail.aspx?g=792efecc-8554-4cdb-a86f-39a515464ab7&utm_source=Lexology+Daily+Newsfeed&utm_medium=HTML+email+-+Body+-+General+section&utm_campaign=Lexology+subscriber+daily+feed&utm_content=Lexology+Daily+Newsfeed+2016-07-18&utm_term=

Lexology is a great resource for articles about legal matters.

As the advent of ebooks make governments' treatment of authors and their works more and more similar to governments' treatment of songwriters and musicians, it becomes more important than ever for authors to go to the (minor) expense and trouble of registering their copyrights.

http://www.lexology.com/library/detail.aspx?g=e6f80231-6d90-4b9f-ac80-1a20f8faa324&utm_source=Lexology+Daily+Newsfeed&utm_medium=HTML+email+-+Body+-+General+section&utm_campaign=Lexology+subscriber+daily+feed&utm_content=Lexology+Daily+Newsfeed+2016-07-08&utm_term=

For one thing, you cannot bring a lawsuit against an alleged copyright infringer if you have not registered your copyright.

http://www.lexology.com/library/detail.aspx?g=96f65aa2-64af-42b3-8692-40db589d961f&utm_source=lexology+daily+newsfeed&utm_medium=html+email+-+body+-+general+section&utm_campaign=lexology+subscriber+daily+feed&utm_content=lexology+daily+newsfeed+2016-07-18&utm_term= 

For another, some very prominent politicians appear eager to allow Big Tech to seize "orphan works" and profit from them, and --as musicians have found with Spotify-- if you cannot be found, you will not be paid.

To be clear, an "orphan" work is a work that has not been around long enough to be in the public domain (lifetime of the author plus 70 years), it's a more recent work that someone wants to exploit, and they cannot easily locate the contact information for the author or the author's heirs.

On the other hand, if politicians are in favor of TPP (and EFF is not!) the international copyright term will move from "life of the author + 50 years" (the Berne standard) to the American (life + 70).

All the best,

Rowena Cherry

Sex in the Wild

That's the title of a four-part PBS series about animal mating and reproduction, each episode concentrating on a different species of mammal:

Sex in the Wild

The episodes feature elephants, kangaroos (with glances at koalas), orangutans, and dolphins (with some material on whales).

They include lots of intriguing facts that could be applied to the creation of aliens. Male elephants in the grip of mating frenzy (which can last up to five months) have been observed attempting to mate with hippopotamuses. Male dolphins (like many other species) are known to engage in homosexual activity; an example appears in the video. Because they're mating in water, or in midair while leaping out of the water, dolphins complete an act of copulation in seconds. Orangutans, on the other hand, may stay coupled for thirty or forty minutes. Alpha male orangutans, each of whom controls a large territory also inhabited by females and low-ranking males, grow large and muscular ("like the Incredible Hulk," as mentioned on the show) and sport cheek adornments called phlanges. A phlanged male seems to emit pheromones that prevent any lesser males in his territory from developing into alphas. Once the "king" is gone, another male undergoes transformation into an alpha. A female kangaroo has the ability to suspend development of a fetus until environmental conditions become favorable for pregnancy and birth. Thus, she may have three babies in different stages of development—an infant in the pouch, a young joey hopping alongside, and an embryo "in reserve."

Elephants have the longest pregnancies of any mammal, twenty-two months. (Aargh.) Kangaroos—and all marsupials—have three vaginas (connecting to a single outlet, through which the baby emerges)! The kangaroo gives birth after only thirty days of gestation, but that's because marsupial babies are born still in a fetal stage. They complete their development in the pouch instead of the womb, a pattern that sounds much more comfortable and convenient than our way. One of the hosts of the show pointed out that if our babies stayed in utero long enough to match the developmental level of newborn elephants, our pregnancies would last almost as long as theirs. Human infants emerge into the world about nine months sooner than our overall lifespan would predict, as a byproduct of the compromise between the newborn's large brain and the limitations of the mother's pelvic structure. So we undergo extensive development after birth that would normally occur in the womb. Just one of our species' many anomalous features (like our lack of body hair).

Margaret L. Carter

Carter's Crypt

Marketing Fiction In A Changing World Part 20: Crafting A Path to Selling Fiction

Marketing Fiction In A Changing World
Part 20
Crafting A Path to Selling Fiction
Guest Post by Miriam Pia 

After hearing from Deb Wunder, a professional writer who found her voice in non-fiction,

http://aliendjinnromances.blogspot.com/2016/07/marketing-fiction-in-changing-world.html

I can now bring you a Guest Post by Miriam Pia who crafted her own path through side-channels and specialty magazines as the world shifted to Electronic Publication.

This is the 20th post in a series about Marketing Fiction in a Changing World.  Here is the index to all of those posts.

http://aliendjinnromances.blogspot.com/2014/05/index-to-marketing-fiction-in-changing.html

Many of the previous posts are about that changing world, about building an audience online, about connecting with that audience using various media based tools.

In this series, I have also noted many of the non-systematic changes publishing has undergone, in the haphazard way that Disruption works in a human-based-culture.

Draw a line from the print-only publishing world, to our own Indie publishers who work E-book only or E-book and Print on Demand (sometimes plus audiobook) only, but never distribute through brick-and-mortar stores. Look at how Amazon has disrupted Mass Market Publishing, and how Mass Market has fought back.

Distribution is the industry that is undergoing massive disruption of the kind we looked at last week.  The whole publishing industry was founded on Distribution from wholesaler to retailer. That structure has been disrupted. Understand how and why, and craft your own path into best seller status.

Today's distribution model is completely changed, yet (as with the post on Depicting Disruption last week) entirely the same. It is just a different technology being used to do the same task: gather and connect with a Readership.

http://aliendjinnromances.blogspot.com/2013/10/index-to-targeting-readership-series-by.html

So here is our Guest, Miriam Pia describing her path.

--------------------------

Crafting A Path
by
 Miriam Pia

Jacqueline Lichtenberg asked me to blog a little bit about my adventures with publishing so far.


Well, it has been what I myself consider a little bizarre.

Like most writers I started out as a child who learned literacy.  My mother encouraged me to write in English daily.  Unlike August 2010 to 8 April 2016, I was living in a nation where English is the main language.  By the time I was 12 or 13 years old I read a lot for recreation as well as having been a good girl who read what the teachers told me to read.  At some point, that means I was getting decent to excellent American educational publisher materials, and "Big 6" publishing house hits from bookstores and libraries.  Like most writers, back then I did not think about it that way.


My first adult awareness of publishers was a little unusual.  My boyfriend's parents ran a writing business from the family's living room and that guy's youngest brother used to write short fiction and submit them to magazines.  I lived with my boyfriend and was exposed to a lot of what went on, considering, but of course it was nothing like it was for the parents running the business or the young guy submitting fiction stories.

Mostly the parents expressed that they had to copy write for corporations to earn an entire living and the youngest would periodically report having received another rejection from another magazine.  He either said that he stuck the rejection slips onto a nail in his bedroom wall or else he said that Steven King used to do that.  For some reason I don't even remember which.

Meanwhile, my boyfriend felt even weirder than he had before he brought in a girlfriend who would also write a novel while hanging around at home.  The clackety clack had already been getting to him, and this only made it ...harder to quit smoking.


A few years later I had a first publication as a professional thanks to an older woman I met as a senior work colleague at a university.  She had a go at starting her own newsletter and included me as one of her published authors.  She paid a penny per word for a poem and a short story.  I was so happy to go pro!


It was more years later before I got anywhere with professional writing again, and for a while my best luck was to get a free copy of magazine.  There were several years when pagan magazines helped me.  A British magazine Comhairle Cairdre and another called Time Between Times published nonfiction and fiction.  I barely remember what happened that made it work, but I can tell you that I succeeded in not offending some English lady who ran a magazine or publishing company that controlled multiple magazines.

Another couple of years later, I felt I was having a tough time making any headway.  I managed to communicate online with some pagans enough that one lady took pity on me and let have some book reviews for Pangaia.  Goddess forgive me if it was actually Pagan Dawn magazine and not Pangaia.  It was like 15 years ago.   Some editor took pity on me.  Sorry but that's really how it was.  I was glad.  I had fun writing a few book reviews for a reasonably reputable magazine.

The next breakthrough I had was when I submitted a short story to the Iliad Press Summer Art Awards.  They gave my story an Honorable Mention.  While not a first prize and no cash, in this case a small press told me that my work was not horribly substandard which was really nice but not as nice as a prize with money involved would have been.  That was in like 2001 or 2002.

An Indianapolis paper NuVo accepted a couple of letters to the editor from me, but I never developed the rapport to write for pay with them. NuVo is a  newspaper that markets the entertainment industry to college students and yuppies in Indianapolis.  I did go to the same cafe as a woman who wore more dresses and succeeded in getting that same publication to pay her to write for them about food.  They mostly use staff writers and the first years earned about $13K for the year back at the beginning of the 21st century.  Most of them have degrees and majored in either communications or journalism but the organization has some wiggle room for the one who gets there some other way.


The International Society of Poetry publishes poetry anthologies and runs contests.  They serve a market that is predominantly to support amateurs in having a good time, but they also send out some rewards for work they think is particularly good and once or twice each year they run a contest in which the top prize is tens of thousands of dollars and a relatively serious publishing contract for like a book of poetry or something.

They published a few of my pieces in books and online.  They gave me 2 Editor's Choice Awards, but again, those awards did not include me winning money.  One award was in 2003 but the other was in 2008.   They have a mixed reputation because,  as mentioned above they crank out large anthologies which mainly serve amateurs as a way to have a good time and share some work with family and friends or to enjoy having a bunch of work by other people who were not known before.  They publish a lot of free verse poetry .   All of mine that they used were just 23 lines of free verse.

After that, my big breakthrough with publishers was another surprise.  It was corporate clients, who hired me to ghostwrite. That meant I wrote 'blind'.

Here's what I mean.  In the magazine industry most editors hire people who have read the magazine for a while and have really learned the style.  Writing that way is 'with sight'.  Blind is like with blind dates .  I just had no idea.  Magazine publishers say this is horrible practice but there it was: corporate publishers wanted this and I went ahead and did it.


Thanks to that, I got paid more than I had before as a writer but instead of an artist marketing my own creations I was writing something for someone else.  I had bid on the project so I had some idea.  What I liked best about it was that it mimicked good relationships with editors and managing editors at magazines and publishing companies in that I knew I was hired so I wrote and they paid me.  Especially when I needed to earn money that worked much better for me than spending God knows how long trying to get Fussy Editor 73 to decide she liked me or my article pitch enough to look at it after I wrote it and then maybe their magazine would use it and send me $20 half a year later.

Instead, I was hired and I wrote and they paid me for what I wrote.  That is what happens with traditional magazines and publishing companies after Fussy Editor 73 has concluded that you or I are good as gold but until then, good luck (sarcasm intended).  I would still like to befriend Fussy Editor 73 and the others, but wow, it can be tough.
So I wrote for people who don't know me and who's names I have mostly forgotten, to write and get paid.  The vast majority were corporations which means that my work appeared all over the place but usually as part of a corporate blog or on a website and without my name appearing anywhere.  I don't even know where my work appeared - which is hilarious in some ways and like a fun house mirror for my ego as a professional writer.


Here is a partial client list.  A few of the places I do remember are Closeout Explosion, BookRags, Latham Shindler's short stories.  There were also Jermaine Davis and Alan Northcott and Victor Ogazi.  There was EastBiz and an Atlanta Real Estate Blog and years later Allmand and Amp and Void Visuals.  The reality of writing professionally, in this way, has made some of what should be perfectly clear a bit of a blur, mainly because I was home working from my living room or typing away in a cafe most of the times that I did that work.  There have been other clients in the near and distant past.  Some may be offended to be mentioned, whereas others might be proud to be.


The most frequent project types with the corporate clients were articles.  Here is where we find a big difference between the way I worked and some norms in the industry.  What I did is both good and bad.  It is bad in that the majority of professional writers would have specialized much more by now.  For example:  'I'm a fashion article writer for such n such set of magazines based in NYC.' Or 'I do grant proposals'.  Instead, I am still in the professional stage of exploration, and have tried a number of different types of writing projects and continue to try more.

The good part about this, is that, over time, there are some signs of specialization anyways and thanks to the flexibility of some of the freelance services I have more freedom to go ahead and try to develop my skills in new areas within professional writing.


During the second decade of the New Millennium I finally had another type of breakthrough, in that I finally got a publication by book publishers with myself as the real and official author, rather than having ghostwritten a book or part of a book for a corporate or private client.

As most people can imagine I was delighted to get published by a regular press rather than being self-published.   It is true that personal connections helped in that a guy I found online who was a playmate of my older brother's, 30 years ago, helped get a publisher he knew to not ignore my submission.  Wilder Publications was able to publish as a POD a self-help / intro to philosophy booklet that I released and wow, do they want me to sell more copies above cost.  I agree but that gets into another part of the job.

Here is my self-help book:
http://www.amazon.com/Five-Big-Questions-Life-Answer/dp/1617208647

Before then, I had a profound personal drama with an Indian publisher Alethia.  I was thrilled because they accepted a novel that I had written in 2006 and again  it was not self-publishing and I was glad.

They got so far as to design the cover but they did not release the novel according to the schedule that appeared in the contract so instead of that novel coming out with a price in Rupees from the publisher based in Pune, India it came back to me.

A few years later, that novel found release through SBPRA which is an author subsidized deal.  I need to find the readers and sell lots more copies but it is nice that there is a nice professionally produced version of this novel for sale.  That one got released in 2015.


Way back in the previous decade there was other excitement, hope, drama then nothing because Artemis publishing told me they were interested in a work of academic philosophy that I had produced.  My understanding is that they collapsed and were not able to follow through, and in 2016 I still have not found another publisher for that work, but have updated and modified that work.  I would rather not self-publish it because of personal limitations.  I just think self-publishing works better for certain kinds of people. It requires certain skills, only some of which I have.

This year, SBPRA
http://sbpra.com/miriampia/
is working with me to release a science fiction novel under a pen name.

Whether sensible or insane, I threw a male pen name onto that one for a couple of simple reasons.  Even though both Jacqueline Lichtenberg and I are women who write science fiction, it is possible, most SF fans are young men.  There are older men and women who like it, but the market is still young men.

What I meant by the male pen name was for young  men to just see some other guy's name on the cover of some book and for them to just go for it even if for some weird reason they feel like they should go for something that some other man did.  Due to the nature of my own ego, my real name is listed in the acknowledgements.  Some will be offended but others will love the little trick.

The pen name is Robert Fitzgerald Jr. by the way, and the first novel on which that name appears is The Children of Loki which is about  interstellar mercenaries.  That man known as ‘Rock’ could portray the novel’s main character – Kiel Bronson, but to portray Gezka FaucMerz would rely on graphic arts and other special effects magic.  There are other male and female characters who are more normal.  What I am getting at is fully explained whenever one reads the novel.

 I have had some comedic fantasies about using a male actor to portray Robert Fitzgerald Jr. at book signings so the men can find the guy who wrote the novel they like.  Anyway, I may have created something I had not anticipated trying that, but that novel is due to be released later this year.    I mean,  I am the author so I would do the actual signing but uh – well, I’d try to make a rather amusing game of it when the young men show up to meet RFJ and there I am at the table with a pile of books and some guy dressed up as RFJ, so they’ll not be disappointed somehow.

That's what I have experienced with book publishing so far.

Meanwhile, I have periodically tried to get a literary agent and I would like traditional publishing company contracts.  I will continue.  I have had one agent, associated with SBPRA for a year several years ago.

At this point, that is what has happened to me.  I feel I still have a lot to learn.

Miriam Pia

http://sbpra.com/miriampia/

http://www.amazon.com/Five-Big-Questions-Life-Answer/dp/1617208647

http://miriampia.com/

https://miriamspia.wordpress.com/?ref=spelling

------------------End Guest Post-----------

This post depicts the actual life of real professional writers.  Being a "professional" means putting your hand to any and every opportunity to make money. You acquire the craft in order to sell that skill.  It is not personal. You just do it.  

Then there is the Art of Writing.  That is personal.  You don't sell your Art. You hide it inside the craft that fits your Art into the commercial distribution channels.

As noted above, those commercial distribution channels are still seething with "disruption by technology."  Read last week's post on disruption and think about how your Art can find a place in that ever-changing world.

Jacqueline Lichtenberg

http://jacquelinelichtenberg.com